‘Mad Men’ Recap: Season 7, Episode 5 ‘The Runaways’

Editor’s Note: Every Sunday after the newest episode of “Mad Men,” lawyer and Supreme Court advocate Walter Dellinger will host an online dialogue about the show. Other participants include Columbia University history professor Alan Brinkley and Columbia University film and television professor Evangeline Morphos. Our panelists will post thoughts after the episode ends at 11 p.m or sometime the next day. Readers are invited to join in with their thoughts in the comments section.

Evangeline Morphos, Columbia University Film/TV Professor

In this episode Don Draper’s world intersects with the social rebellions against authority that characterized the late 60’s. Whether it’s a sexual three-way after a party in Megan’s funky Los Angeles bungalow or a fractious discussion of Viet Nam during a “progressive dinner” complete with ramaki in Betty’s Westchester mansion, the characters in this episode are testing their own limits, and those of their relationships. It is also an episode that catches us up on what has been happening to other characters while we have been concentrating on Don Draper’s anxious re-entry into the agency.

The episode begins with Stan finding a copy of a cartoon “ ‘Scout’s Honor’ by Lou Avery” that was mistakenly left in the copy machine. Who knew? Lou has a secret life—and it is as uninventive as his public one.

When Lou realizes that “Scout’s Honor” has become the butt of Stan’s jokes, he petulantly defends himself: “Do you know who had a ridiculous dream and people laughed at him?…..Bob Dylan.” But Lou is no Bob Dylan, and “Scout’s Honor” is no “Underdog”, the successful cartoon Lou is copying. Lou’s flat and humorless work is, in fact, a defense of the establishment, and he criticizes Stan and the others for being “flag burning snots.” Stan cannot be creative, because he cannot be rebellious.

Lou lashes out at the whole creative team and tries to bring them under his discipline. Don reminds him: “This is an office that is made out of people who have problems with authority.”

Certainly, Don is talking about himself. While we see Don calmly following Lou’s demands and cancelling his flight to L.A., the episode will end with him once again embracing his own rebellious nature.

Don’s definition of his relationship to authority and social expectations is tested in this episode, and his reactions are complicated. He is awkward and uncomfortable at Megan’s party which is self-consciously a “cool” scene. Yet, Don is remarkably supportive, non-judgmental and loving when his hippie niece calls him to say she is pregnant and broke.

Megan’s attempts to control Don, Henry’s attempts to reign in Betty, and Betty’s attempts to manipulate Sally result in relationships that are badly torn by the end of the episode.

Other relationships, however, are intensified. When Harry and Don unexpectedly meet in L.A. they flee Megan’s party and go for a drink. Harry confesses that Lou and Cutler have been plotting to secure a Phillip Morris account—and action that will guarantee that Don will have to leave the agency. This confession is an act of both friendship and admiration on Harry’s part.

Don is able to counter Lou and Cutler’s plan by crashing the meeting with Phillip Morris. In one of those genius pitches that are his hallmark, Don Draper convinces Phillip Morris that his former attacks on them and the tobacco industry will only help him create their new account. Rebellion becomes the tool for becoming the establishment. Well played, Don–and welcome back.

(Frankly, I don’t know what to make of Ginsberg’s meltdown/breakdown–except to say that things like that happen in real life.)

At brunch Saturday I overheard three women at the table next to me talking about “Mad Men”. I couldn’t help myself: “Are you as angry about Peggy and Joan’s treatment of Don as I am?” I asked. They looked at me—more puzzled by the question than by the interruption–and then launched into passionate defenses of the women on the show. All three were talking at once, until one of them finally broke through: “We feel as if we work there, too.”

Let’s face it—there is a deep identification that viewers of the show feel toward the characters of “Mad Men”. I don’t mean the kind of soap opera story-following gossip of shows like “Scandal” (or even real soap operas when there still were such things); nor do I mean the “don’t tell me—spoiler alert” fandom of shows like “Game of Thrones”. There is something about the ongoing and complex understanding of an entire world of characters, and the time and place they inhabit that allows us to project our own sympathies and awareness onto the characters.

Stan found a file of comic strips for “Scout’s Honor,” about a hapless soldier, by Lou Avery. It was left on the copy machine—probably by Shirley, who is put out that they have it.

A very pregnant Stephanie, dressed as a flower child, calls Don collect. He’s happy his “niece” reached out to him for help, and sends her to Megan in Laurel Canyon, and says he will come out that night. “Thank you Dick,” she says.

When Megan hears about it from Don’s, she’s sympathetic and sweet. When the two women meet, Megan finds Stephanie beautiful, and Stephanie says Megan is “magnetic.” But when Megan hears that Stephanie knows Don’s secrets, she suddenly looks unsettled. She tells her that Don would not be able to stand how up in the air Stephanie’s plans are, writes her a check for $1,000, and sends her on her way.

Stan and Mathis are cracking jokes about “Scout’s Honor” in the men’s room when Lou comes out. Oops. Lou is furious in a pitch meeting. He talks about how much better “Scout’s Honor” is than Underdog, and the guy who draws it used to work at Dancer Fitzgerald.

“You know who had a ridiculous dream, and people laughed at him?” Lou asks.

“You?” Stan replies, which cracks Don up, sincerely. Stan tries to say he did not mean that the way it sounds. “Bob Dylan,” Lou says, “Is that hip enough for you?” Then he goes on to call them flag burning snots. Worth noting that Peggy was entirely out of this loop. But because of the long day as punishment, Don is going to have to miss his plane. Don suggests Lou let everyone go, when Lou asks how it would look, and then says “is that what you would do?” Don replies, “I’d let you go.” Don then tries to give him some advice about the cartoon and developing a thicker skin. Lou just says, “I’m not taking management advice from Don Draper.” Maybe he should though, since Don’s employees admired him and wanted to please him. And we’ll see that pay off for him this episode.

On the Betty Francis front, it’s a bad party and a rebellious teen. Betty tries to connect the Vietnam war to broken street lights that a couple are complaining about, saying that if people supported their country maybe they’d have the morale to win the war. Henry tries to change the subject, but then says he agrees with Nixon that it’s time to get out of the war. Apparently, that pissed off Betty enough that she bowed out of the rest of the party and he went alone. When he comes back, he shouts, “Hey, Emily Post, why were you talking about the war?” he asks her. He’s mad—not only did she embarrass him socially, she contradicted his political views. He orders her to leave the thinking to him. She apologizes. Bobby listens in, upset.

Sally broke her nose, ostensibly fooling around with golf clubs with another girl. Betty’s furious. Bobby sneaks in to talk to Sally. He wants to hitch back to school with her, saying he has a stomach ache all the time. When Henry returns from taking Sally back to school they have a real fight—Betty tells him she can think for herself.

For those speculating about Ginz, we’ll see this episode he’s not just Woody Allen-like fast-talking and nervous, he’s nuts. He sees Lou and Jim talking in the computer room, watching their lips moving, a la HAL and 2001. Ginz hates the new computer. He hurries to Peggy’s to tel her Jim and Lou were having a secret meeting in the computer lair on a Saturday. He speculates that they are homos, and the computer makes people do strange things. He begs to work at her house, and later wakes her after a nap, ranting about the computer is turning him homo, and says, “Peggy, we’ve got to reproduce,” and tries to kiss her. She tells him he should see a doctor. The next day, he tells her he’s all better. He gives her a present: his nipple, in a box. He thought it was the valve where the computer was sending energy waves through him. She asks him to sit down and leaves the office.

Don goes to Megan’s house, and is a fish out of water at her party for her acting class. Then he says, “is that Harry?” and it is. An actress invited him. Don suggests Harry get a drink with him. They sit at a quiet bar together. It’s an awkward conversation, but Harry says, “I am going to make sure you’re still important. It’s going to take some major brain power. You might have to figure it out.” He suggests Don come out to L.A. He lets Don know that Cutler and Lou are pursuing Commander, and that if they get it, Don will have to go. Don sincerely appreciates the intel. Don says, “Can we get another round?” and it’s probably the high point of Harry’s life. And that’s why Don really is a better manager.

When he gets home, Megan coaxes him into a thressome with her friend Amy. Who is this Megan? The one who freaked out when her soap opera colleague came on to her? He resists at first but then goes for it. Megan and Amy kiss each other. The next morning, Stephanie calls. Don makes her promise to call when the baby comes. We see Stephanie in a phone booth on a bad-looking street. The morning after is a little strained, and Megan looks frustrated. Don has to hurry home to deal with his new intel.

Don crashes the meeting with Philip Morris, and tells them that he’s prepared to leave the agency if they sign on. He then tells them he wasn’t trying to destroy their business when he wrote that letter attacking smoking, but to save his own—and to think of what their friends at American Tobacco would think if they made him apologize. “They are still your competition, aren’t they,” he says. Then he thanks them for their time, and leaves. Lou looks devastated.

Ginz is wheeled out of the office, shouting, “Get out while you can!” as Peggy weeps. The computer wheels whir.

“You’re incredible,” Lou says to Don, as Don helps him and Jim into a taxi as they leave the Algonquin.